Alessandro/Working Dog Rottweiler 112 Combo

Simple and perfect. Straight foreward controls that really work! The three tone controls ( treb, mid & bass ) work independently and shape the sound like nothing I've ever had before. Tone switch for humbuckers or single coils and power From 50% to 100% on a dial. One input. Reverb is lighter than most but gives a non-manufactured tone. No line out, but don't you want to mic an amp for the best tone? With this one you will. This amp has more power than you would think for a single 12. People tell me it's louder 50 feet away than it is on stage.

Play with a light touch and its clean. At the same settings, dig in hard and it breaks up. Perfect. If you want to know what a guitar really sounds like, play through this amp. It shows you how much a lesser amp shapes a sound to it,not the guitar. My Custom Shop Strat sounds great and covers a wide range of sounds. My Gretsch 6120 is more or less for that Gretsch sound only and can't be shaped much unless you use a pedal. I would rather play passive with no pedal to get a true sound from this amp.

Time will tell, but it seems solid and trustworthy.

Called to ask a few questions and to gat a cover. Very helpfull with my questions. Was a little concerned when I was quoted $75.00 for a cover, but wow, what a thick, padded well fitting cover. Worth every penny.

For me, this is the amp. Would I like a higher end Alessandro amp with figured wood? Of coarse. but How much better could it be. This is not an amp made to be a Fender clone. Its far beyond that and maybe people should stop trying to sound like a Fender and build their own personal amps to have their own personality.

I am currently using mainly an early prototype Working Dog that has been "played in" nicely. 40 watts, 6L6 style. This is a vintage style amp, so it's not feature-heavy, but it's very versatile in it's own right. Controls are 1 imput, volume, reverb, treble, middle, bass, and a final output control, and a really cool jangly/creamy switch for humbucking vs. single coil guitars. The final output control is like a built in master volume that really works and doesn't suck any tone away from the amp. A perfect setup for a blues/classic rock player.

I use this amp with a 1965 Fender Strat in the middle pickup position. I usually set the Dog at about 8 1/2 on the volume, maybe 6 on the reverb(it's a subtle reverb in these amps), and tone controls to taste or to the sound of the room. I use the jangly switch with my strat, but it get's thick even on that setting. Even with a B-3 player in the band now, I still have to use the final output control alot with this because this thing really can get loud in clubs. With this setup, I can go from a gorgeous sweet blackface-inspired clean tone, to a thick tweed/early Plexi type overdrive. And that is with a strat with low-output pickups! This amp is like all of the great amps in one. The cleans and reverb of the blackface era, the smooth crunch of a vintage 59 bassman up to a sustain of an ealry Plexi. This amp also works great with a TS-808 set as a clean boost. This really brings that amp over the top to a great sustain.

The only problems I have ever had with this amp are purely speaker related and had nothing to do with the elctronics of the amp. It is a hand-wired amp made very well, so it should last a long time and work all of the time. Of course, you need to maintain it just like any tube amp, but it's very good overall.

I've known George for maybe 5 years now, and I credit him for "teaching me tone." He really knows his stuff and it shows through his extensive product selection. When ever I need an amp when I'm in the Philly area, I just give him a call and he will help me out. Service on the amps has always been great, and he even helped me find my '65 strat for a great price too! I have an endorsement with Alessandro so he let's me use his products when I am out of town doing a gig in his area. Real good guy.

I have used this amp on a number of gigs and recordings and it has always been there sounding awesome! This is a perfect amp for a blues/rocker who plays Strats, Les Pauls, whatever, they all work great. Records really well too. Very warm sound on recordings. To hear this amp with a strat and no pedals, listen to track 10 of John Mayall's new CD, "Road Dogs" to hear this amp straight and cranked up.

2001 build. Features are pretty minimal, but are more than enough for what you need. 40 watts, single channel, handwired (beatiful workmanship by the way) and well constructed.
This amp has a single input jack, volume, Treble, mid, bass, reverb, and Final Output Control (attenuator that will vary output from 100% to 50%). Also has a "Jangly/Creamy" switch and the obligatory On/Off and Standby/Off.
Very Spartan in the looks dept, but well built.

If I could ask for certain features to be added, I would ask to add an extension speaker jack and make the "jangly/creamy" selection footswitchable. I play fat strats and would love to use the switch when switching between single coils and humbuckers.

The best feature by far is the weight... 37 lbs with a ceramic speaker!

It has a very Blackface-like clean, without the fartiness or flubb that you sometimes get from BF amps on low strings. The Solid State rectifier is partly responsible for this and keeps the tone nice and TIGHT throughout the frequency response.

Also well balanced tone. None of the frequencies ever step on the others.

It can go from pristine (almost too much so) clean to pushed clean (the way I like it) and even into Tweed or Marshall territory when it starts to breakup. With the mid control set high, it breaks up at about 10:30 - 11:00 o'clock on the volume. The Final Output Control (attenuator) tames the volume without coloring the tone at all, so you can run this amp pretty hot on the gain side without pissing off the front row.

The Overdrive is useable for mild to classic rock OD, but doesn't really get into distortion territory. However, this amp LOVES all OD and Distortion pedals. Back off on the mids a bit to clean up the foundation tone and add a dose of OD pedal and it's a rock n roll machine! I have used a Keeley DS1 Ultra, a Zen Drive, a Keeley TS9 Plus, a Blues Driver and a Digitech Tone Driver. All sound great through this amp.

Very quiet amp as well. The Jangly/Creamy switch does make a mild "pop" when selecting Creamy and the reverb control sounds a tad scratchy while it's being moved. I emailed George Alessandro and he said these are normal for this amp and nothing to be concerned about.

Another great "feature" is that the Tone Controls are VERY interactive. The mid control alone can induce overdrive without touching your volume. The tone controls set minimum allow you to push the volume to 2/3s without being too loud (and we have a quiet stage volume). Set them above halfway and you have to run the volume back at about 9:00 to be tamed. A minimum setting on Treble and Bass with cranked mids gets you Clapton Tweed tones at reasonable volumes.

The Attenuator (Final Output Control) cuts the volume down by several dB but doesn't color the tone. The only adjustment I ever make is to bump the treble control up a tiny bit when I attenuate a full 50%.

I have had it now for two months, and it has several gigs under it's belt, but I bought it used from a gigging musician who had used it regularly for several years. No components have been replaced so I assume that it's reliable.

If the workmanship is any indication, it will last forever.

I emailed George Alessandro and he replied promptly and answered all my many questions. He stands behind his product and workmanship and has a great reputation which goes a long way in this arena.

I have only encountered a few guys/girls in this business that are equal to Alessandro in customer service and us musicians LOVE the ones that try hard to keep us happy.

Since I bought it used and 5 years old, not sure of the warranty.

I have been playing 25 years. Amateur guitarist in a cover band, but stricken with severe G.A.S. and known to try lots of new gear. I use high quality equipment and love the standard represented by Alessandro products.

I love the simplicity and quality of this amp and the tone is just as nice. Clean, tight, and musical tonality. The amp can get very loud, or it can sound great at lower volumes. It loves pedals, and I can carry this amp for miles without being tired or irritated. The weight is wonderful without compromising quality.

If you like Deluxe Reverbs but want more volume or headroom, or really love the cleans you get from a Twin or Super Reverb, but hate the 65 lb monsters, this could be your amp. Especially if you are like me and love the BF cleans but not quite into the pushed or break up sounds... i.e. wish you had an amp that could do BF cleans and mild Tweed OD... this could be your amp.

I will give the amp an overall 9, but only because I have never found the perfect amp and want to save an overall 10 for that one (if it ever comes about). This is the best amp I have tried so far and I have spent many thousands on a variety of others.

2005 single channel 1x12 6L6 combo. 40 Class A/B watts. Reverb, basic tone controls, final output control, creamy/jangly switch.

This is obviously a very straightforward setup, which is what I want. I hate amps, pedals and guitars with too many knobs or too many sounds. After years of playing everything under the sun I've determined that too much control is a bad thing. If you want 3 completely different sounds from an amp, then get 3 amps.

INCREDIBLY lightweight and compact. It's wider than it is tall, which I suspect was done for reasons of maximizing volume of the cabinet,

I love this amp. It goes from a super-clean Twin sparkle to Blackface overdrive. It gets much louder than I would have expected. Because of that, I wish the final output control (which acts like a variac or power soak) would take the output down even lower so I could get more power amp overdrive at lower volumes. However, that is a minor quibble, as other non-master volume amps don't even have this option.

This is the perfect amp to use with a really good overdrive or boost pedal. You can get really good overdriven tones from the amp itself, but you have to crank it up to do so. I use a Barber Direct Drive SS pedal for low-gain tones and a Fulltone Distortion Pro for the heavy stuff.

Haven't had it long enough to know, but point-to-point amps tend to last a lot longer and are easier to repair should they go down.

This is where the company shines. George responded personally to my phone calls and talked with me for 30 minutes, long after he answered my questions. He seems to really have a passion for amplifiers, and I was left with thhe sense that he would take care of any problems that may arise.

$1200 for a hand-wired amp that sounds this good is a fantastic value. I'd pay twice the price. I own a Bad Cat Hot Cat ($2800) and a Budda Superdrive 30 ($1800) and in my opinion the Alessandro is the best. I wanted to have an EL34, a EL84 and a 6L6 combo in my collection, but I now use the Alessandro exclusively when gigging.

I know there are a lot of others like me who for years used very large and complicated set-ups, but have now decided to go simple and small. Even though the Rottweiler is wider than I expected, it is shorter and MUCH lighter than my other amps, but sounds just as big. It's great to be able to plug into a tiny amp that I can pick up with two fingers annd have my soundman ask me to turn it down!

I'm not one to spend time reading or writing these reviews , however I feel compelled to do so based on the shear brilliance of this amplifier.

This Working Dog Rottweiller ia a 40 watt all tube, point to point straight forward guitar amp. With a built in reverb , and built in power attenuator. Lightweight with 1 12inch Jensen Re-Issue speaker.

With only several knobs: Volume, Treble, Mids, Bass, Reverb and Power attenuator there is nothing this amp can't do... extremely well.

I've used this amp with a master-built Strat, an early Gibson SG re-issue and a late fifties Les Paul Junior. The inherent characteristics of each of these instruments were brought to the fore with stunning complexity and sweetness. Using only my guitars volume control and the highly effective mid-range control I was able to dial up great, sweet sounding overdrive with all three. Backing down the controls cleaned things up without any mud. The inclusion of a creamy/ jangle switch gives even greater flexiblity to an already remarkably flexible amp. The reverb is lush sounding, almost with a plate like quality with no "ping" or harshness at all. In fact I've never used reverb until I bought this amp !!! Plenty of juice for medium to large halls, but great for smaller venues thanks to the attentuator. This amp "plays" like a musical instrument.

Hand made, point to point, great cabinetry, this amp will outlive me.

Having spoken to George several times... I can say that he truly loves what he does and his enthusiam shows. To deal with guitar players all day and not want to blow your brains out is a very rare gift. Thanks George, you are truly a gentleman.

I am now a semi-retired 50 something musician. I recall buying vintage Marshall's brand new right out of the box. Having toured and recorded with every possible combination of guitar and amp ranging from dot neck 335's to blackface Deluxes I have to say that George has created a new benchmark in amp design. This is the last amplifier I will ever buy... period.

Alessandro Rottweiler 1 x 12 Combo. Control panel configuration is: 1 input jack, Volume, Reverb, Treble, Mid, Bass, and Final Output Control knobs, Jangly/Creamy switch, Standby switch, Power switch, and Jewel light. The cabinet is Black Tolex, Black Grill Cloth, Working Dog logo, open back design, Oversized yet lightweight solid wood enclosure. Electrical characteristics include: 40 Watts output, 2 12ax7 and 1 12at7 pre-amp tubes, 2 6L6 power tubes, 1 Jensen C12N speaker, Point-to-Point hand wired electronic components, Ceramic tube sockets, Silver plated contacts, Teflon/Silver Wiring, Silver solder.

This amp captures the timelessness of the American BlackFace Era with a British twist. Chimey, jangly clean tones flow with single coils and humbuckers. Throaty, woody overdriven tones surge out when the volume is pushed, again with either single coils or humbuckers. All of this can be controlled from my guitar volume knob plugged straight in with a quality cable. It sounds angelic with a set of Kinman single coils; this is the Holy Grail of Strat Tone that?s been floating in my head since I heard my first Eric Johnson CD. The tone stack offers a large canvas to work with, much greater than any current mass produced amp I've played. The Jangly/Creamy switch is much more than a "bright switch"; the Jangly setting can bring alive the dullest humbuckers and make single coils sparkle and glisten with bell-like overtones. With a Les Paul, the Creamy setting gets me close to a Marshall Bluesbreaker sound, I bet I could nail it with a Celestion G12H30 speaker. The reverb is extremely musical and useful without being "clangy"; it's one of the few on-board reverbs I've been able to mix well with various Tube Echo, Digital Delays and other modulation effects. When volume levels are an issue, I've had great success with various quality overdrive, distortion, and fuzz pedals. The Final Output Control is also helpful in keeping the tone while bringing down the decibels. This amp also works extremely well in an archtop/jazz setting. It's a paradox how I can get so many versatile sounds from such a simple layout. The most pleasure I get out of this amp is cranking it and using my volume knob to clean things up when I need to.

Exposing the components reveals the work of a master designer and technician. The components are assembled in a meticulous manner; this amp was truly built as a labor-of-love. Mil-Spec components used throughout, ceramic tube sockets, silver plated contacts, teflon/silver wiring, silver solder...I'm over 40 and this amp will surely out live me.

I own 3 amps built and serviced by George Alessandro. A re-built Fender Bassman, an Authentic Fender '65 Twin Reverb (talk about a benchmark for BF tone) and this Rottweiler. By phone or email, George has always been prompt to respond with the right answers; very personable and friendy. I've had the pleasure of meeting him at a couple guitar shows in the Philly area; he?s always willing to talk about good tone.

If you're looking for a steal on a Boutique Amp or looking to capture the sound of a vintage American BlackFace Amp, but don't have the means to compete with the collectors, then you owe it to yourself to test drive the Working Dog Rottweiler. Even if you have deep pockets, you should consider this amp as a benchmark before handing over you platinum card; it's that good. Don't let the "ugly duckling" looks fool you, it's what's inside that counts. There isn?t any snob appeal in the exterior or price, you?ll have to plug in with some good chops to begin to appreciate this amp (the snob appeal will catch up later, trust me). Someone will have to bury me before I part with this amp.

I purchased the amp two weeks ago in May of 2004. I own or have owned Mesa Boogie Rectoverb and F-30, Marshall DSL 100 Head and Cabinet, Hughes & Kettner Tube 50 and 4x12 slant cab, several tube and non-tube Fenders, and probably some I don't even remember. I played Rock/Pop and Folk/Rock in the 60's, then blues, now soul in an eight piece group, some studio work and fill-ins.
I was attracted to the Working Dog because of its weight and the suggestion that I could have a really quality product that was pretty light. As I've gotten older gigging gets more difficult not because of the playing as much as the pre-gig activities. I also had come to the conclusion several years ago that multi-channel amps were often much more than I needed for any single gig. BUT...there lies the problem....if you want quality and tubes it tends to head for multi channels and that means more weight. The Rottweiler has only one channel. It does have two settings that can be set at the amp...jangly and creamy or something like that. Also, power is adjustable by 50% with a very cool knob. Other than that it's gain, treble, bass, mid, reverb. No effects loop.
There are no features I desire that are not there. A speaker out seemed necessary, but Allesandro simply said use a Y. Great answer. The amp is 40 watts. I have used it two ways so far. At a gig with a soundman I stuck my own Shure 57 in front of it and let the soundman make the volume call. I dialed in the tone I wanted in just a few minutes. That was the first night I gigged with the amp. Pretty big club. In rehearsal (basement) and a smaller club I went straight. I ran it real hard at the small club gig.
Early in my search I had asked the company about getting the cleanest sound possible. Since the amp normally uses an AX7 in the phase inverter I concluded it would distort pretty early. I wanted a real basic amp I could get a lot of pretty clean head room from and then put a pedal in front of it to get distortion. I knew from work with a Fender Twin Reverb (80 pounds) that I got a very controllable reaction from such a setup. Working Dog suggested an AT7 in the phase inverter. Worked perfectly. For soul I use a great deal of clean sound, though I do like to have some distortion for some parts and sometimes use a filter or wah for sounds. Bottom line, I always have a pedalboard anyway.

I have used it with a new Fender American Deluxe with the S-1 swithching system. Very sweet. Like the Jangly setting. Also with a Hamer USA Duotone. With the humbuckers the Creamy setting is very smooth indeed. The amp is pretty quiet, though I have never had a tube amp that was "quiet".

It is new and everything is breakable. I have to tell you though that there is a "vibe" or "aura" of both intelligence and quality that this amp gives you I have not felt since I bought a Fender Twin Reverb in the mid 60's. Perfect design.
I know the company will stand behind the product just based on the way they did business with me and the obvious respect for craftsmanship the amp shows.

Pre purchase support was superb, handling of my order was perfect. Nice to talk to a real amp person who knows the product when you email or call. Could not be better.

I have played for over 40 years. Like I said I have owned much and still do own a great many guitars and amps of many kinds. I have never owned a Vox, Peavey, or Crate.
If this amp vanishes I order a new one immediately. It is exactly what I needed but never found. I looked at every amp I could find or ever heard of. My only wish is that it had a great Tuki cover. I am about to order one.

This amp features 2 6L6 tubes putting out about 40 watts.A 12" Jensen C12 reissue speaker is used.Very clean point to point wiring,reverb and a light but very durable cabinet.

I have known George for almost 13 years and at one time employed him as my tech.Out of this grew a strong friendship.Early on George worked on my extensive vintage amp and guitar collection.I knew he had what it takes to become great at anything but he chose amp design.With that said this amp perfectly suits my Blues based style. It loves Fenders and Gibsons equally! It is very powerfull with a lush soundind reverb to boot! Its clean tones are rich and harmonically complex as are the lead tones.It runs very quietly and is reliable as are the other 5 amps of his that I own.( 2 redbones, 1 English,a Beagle combo prototype and a 20 watt Working Dog with a Celestion Greenback 12)

Reliable as can be!They have only broken down because of a bad tube not because of poor design (which only happened once)

As I said before George is an old friend and we have always supported each others skills.His customer support is faultless with everyone.

I have been playing for 40yrs.I have been fortunate to own almost all of the dream guitats and amps.I can use anything.I choose to play George's amps not because he is a friend but because they are that good! I'm proud of you George keep it up!!!!!!

2002 2x6L6 1x12" combo, with Jensen C12N speaker. Very clean point to point
hand wired circuitry, and very sturdy real wood cabinet. This is in stark
contrast to the light fiber board wood Fender is using in its current amps.
Built like a tank, you can lift up the amp by the rear waffle board!!!

Here is the deal. I live about 1 hour from George's shop, and I had a 1968
Deluxe for him to fix. So I brought it over to his shop. While there I had
a chance to play several of his amps. He let me take two home to test in
the studio, I also tested them at two different live blues jams.

In the studio, I compared the Working Dog to several other amps, a 10 watt
Alessandro beagle, and the 68 Deluxe. I recorded these amps with a shure
SM-57 through a avalon M5 mic pre, into an Appogee PSX-100, then into a
pro-tools 24 bit system. In both clean, mildly dirty, and highly saturated
sounds, I preferred the sound of the Working Dog to the other two amps.
There was something clearly fenderish about the tone, but when pushed, a
baby Marshall tone seemed to appear. All very controllable by the volume on
the guitar. I also ran a full drive 2, a tube screamer, and a boss super
overdrive through the dog, again all with very good results!

The power soak/master volume dial on this amp is really nice, as you can get
good grind at reasonable levels without much loss of high volume thunk, and
power.

Live this amp went up against an old blackface vibralux, and a re-issue
deluxe. It ate both for lunch, offering more definition, and warmth, and an
extended frequency response in both directions, for both clean and dirty
sounds.

George hipped me to the fact that his middle tone control is really the key
to pushing this amps dirt, and this is a very organic way to go. I'm still
learning how to get the most out of it!

I did use this amp with a 62 strat, a Suhr strat, and a PRS hollowbody 1.
It loved all of these guitars.

I was also able to get a very warm clean jazz sound at lower volumes.

Overall, this will be my main workhorse for both live and studio settings.
If you are a fan of the fender amp sound, you owe it to yourself to see
where George has taken this classic design. It may be impossible to make an
old strat, but I'll be dammed if he has not built a better amp, while
maintaining everything classic that was worth maintaining in those older
amps. If you are looking for a more British sound, try his other line of
amps. Not my cup of tea, but very good as well...

Built like a tank.

George is very knowledgeable, a real guru of tone! There are not many real
gurus of classic tone left, but this dude is the real deal.

I've been on a fairly extreme tone quest of sorts. I own a project studio,
and do a good deal of work for TV, video games, and film trailers, etc....
I have all of the studio toys. But my guitar tone had been lagging behind
my midi madness of late, and since the guitar is my main axe, I decided to
work on a more refined tone for this year. I played a number of different
amps, and spent more money than I should have, but the tone quest is over
for now. I plan to settle into this rig and really get to know it!

If you have the chance to compare one of these amps to other amps in this
price range, it is really no contest. This $1200.00 amp compares to 4 and
5K boutique amps. If you compare it to a re-issue super, in this same price
range, it is a joke. The Dog is soooo much better!

The Rottweiler is the 2x6L6 version of the Working Dog. I ordered the 1x12" combo. Looking at the control plate from left to right are: input jack, jangly/creamy toggle switch, volume, reverb, treble, middle, bass, power (final output control), standby switch, on/off switch, red light. The amp is extremely simple to use. The reverb is not overly boingy so it's easy to dial-in the right amount without overdoing it. The only reason I didn't give the amp a 10 is for lack of tremolo and lack of external speaker jacks capable of powering different speaker loads (impedances). The Final Output Control (FOC) serves as a kind of master volume but works much better. Just dial-in your sound with the FOC at minimum and use the FOC if you must be louder - but your tone will not change. The cabinet is deeper than a Fender. It's very light-weight and easy to carry. It's amazing how much low end comes out of this amp. The amp is very responsive to the way you play, and I don't hear the audible hum/hiss I would hear from a vintage tube amp.

The amp is well made. The tube sockets are ceramic (the best). The wiring is point to point, and the circuitry is simple enough that a good vintage amp tech could fix it should a problem arise. My only niggle with the quality of components is that the tolex should be a bit harder and thicker - it doesn't take much to tear the tolex.

Mostly I play blues with a Strat or Tele with vintage Fender single coil pickups. Sometimes I play an Ibanez AS80 Artstar (335 clone). I use very few effects. The first gig I played with the amp I ran straight into the amp with my Tele. As the volume control is rotated clockwise past 12 o'clock you'll start to hear some nice early break-up and tube distortion. When straight up (12 o'clock) the tone controls are flat, rotating counter-clockwise reduces the tone, rotating clockwise adds in more. The jangly setting seems to reproduce the widest frequency spectrum and leans toward the Fender thing. On the creamy setting the highs and lows seem a little compressed and the mids are accentuated more. I prefer the jangly setting with single coils and the creamy setting with humbuckers. The speaker (a Jensen C12N) seems to be able to handle all the power.

I have been on a search for the holy grail of tone for several years. The Working Dog makes it easy for me to sound the way I want. The Working Dog lets me play. I never worry about being too loud like I used to. The Working Dog gives me the same great sounds whether I'm playing low (= Deluxe Reverb on 4) or loud (= Super Reverb on 7). I have tried a Tubescreamer, FullDrive II, and Zvex SHO in front of the amp. They fit in the sound chain just fine. I have decided to keep the SHO and a Demeter Tremulator as my only effects. If I need more serious overdrive, I'll throw in the FullDrive II. However, the first night I used the Working Dog, I tried it with no efrfects and the volume turned to 2 o'clock, and my tone varied from clean to snarling based on my picking and guitar volume...very nice!

The amp was designed and built by George Alessandro. Mr. Alessando's work is renowned and meticulous. I do not carry a backup. I do keep my amp in the house. I transport it inside my vehicle on the back seat. I do not place drinks on my amp. I always let my tubes warm-up for a minute before going from standby to on. Nothing in the amp has failed. When it will be time to replace the tubes there are fewer preamp tubes than Fenders - only 3: 2x12AX7 and 1x12AT7. The rectifier is solid state, so there's only 2 power tubes to replace. The biasing control is available behind the protective upper back panel.

When speaking with Mr. Alessandro over the telephone, he has been very helpful and responsive. Clearly, he strives for perfection with his work, and he wants his customers to be satisfied and pleased. I've forgotten how long the warranty is...I think it's one year. I'm not concerned.

I've been playing music since 1960. I started playing electric guitar in 1970. I made my living as a performing musician during the 70's. Since then I've played as a "weekend warrior". My thing is gigs not the studio. I need an amp that works at the places I play. I've owned a Fender Twin, reissue Bassman, '68 Super Reverb, '74 Deluxe Reverb, reissue Deluxe Reverb, Music Man RD112, Peavey Classic 50, Carvin Vintage 33, Ampeg V4 and an Accoustic 110. Since buying the Working Dog, I've sold my two Deluxe Reverbs, and I'm considering selling my Super Reverb. I really love this Working Dog. I get all the tone and control I ever wanted in an easy to carry package. I haven't played thru another amp since getting the Working Dog - there's not point; everything I need is right there in the Working Dog.